Watching such an experimental film, perhaps thinking is superfluous, you only need to feel it. The grammatical characteristics of French make French intellectuals of Godard's generation especially good at playing words and puns. Words are broken and reorganized, and the metaphors of language are infinitely expanded. Certainty gradually dissolves the language itself. Perhaps, it was in this sensitive and familiar use of language that Godard fell into the anxiety of language more deeply than others, and he thought of Solzhenitsyn, which I think should be referred to as a textual exploration An experimental narrative about the Gulag. Movies arose in an era when human beings were generally constrained by state totalitarianism. The post-war West, thanks to the invention of new technologies, began to enter a free civil society, but it was this universal and "common freedom" that made people gradually. They are far away from each other, lost in the meaning maze constructed by language metaphors, they can’t speak, or they encounter semantic erosion, they don’t understand each other, and they are trapped in the interpersonal situation of “every time you talk about shit, I talk about equality”. Tyranny has never disappeared. Postmodern human beings are faced with the tyranny of language released by the invention of new technologies. Therefore, the exploration and experiment of text needs to continue. This 3D film is an attempt to create a new image language. . In this film, the content (plot) is almost indistinguishable, or in other words, the form and the content are highly integrated, and the understanding of the content depends on the feeling of the form, just like the puns that appear many times in the film, which in itself is a This kind of semantic chaos is also a new order of film text (violence), while Godard is establishing this order (the completion of film text), he is constantly struggling against itself (destroying or highlighting 3D visual effects). It's uncomfortable and aggressive). Through this struggle within, and through the "humanization" and perspective of Rosie the puppy (peeping into a human being caught in violence), Godard implicitly expresses anxieties that new technology will stifle cinema, a return to desire.
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